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Lot Essay
Painted in 1944, this elegant figure painting by Zhang Daqian was inspired by the Ming master Tang Yin, as noted in the inscription. Zhang also transcribed Tang Yin’s poem along the right side of the painting. The lady is shown in a gentle profile with folded hands, her coiffure adorned with floral ornaments and red ribbons. Flowing robes accented with mineral green and her full, refined features convey the dignified feminine ideal that became characteristic of Zhang’s post-Dunhuang figure paintings.
Zhang’s achievements in figure painting were rooted in his close study of earlier masters, including Tang Yin, Gai Qi, Fei Danxu, and Ren Bonian. A closely related version of the same composition is Lady in the Style of Tang Yin,, painted in 1933 for Weng Ping (1907-1998) (fig. 1). After his return from Dunhuang, however, Zhang’s style underwent a marked transformation. Moving beyond the delicate elegance of later Qing figure painting, he embraced a fuller and more monumental vision inspired by Tang art. While the composition remains closely related to the 1933 example, the present work displays stronger modelling, firmer linework, and a richer sense of volume and vitality.
The collector’s seal belongs to the renowned sculptor Liu Kaiqu (1904-1993). During the War of Resistance, Liu and Zhang were both active in southwest China and maintained professional contact. Liu greatly admired Zhang’s mastery of line drawing. In June 1983, the National Art Museum of China mounted the exhibition Paintings of Zhang Daqian, which included two works from Liu’s collection. One, listed as a 1944 painting of a lady, likely corresponds to the present work (fig. 2).
Zhang’s achievements in figure painting were rooted in his close study of earlier masters, including Tang Yin, Gai Qi, Fei Danxu, and Ren Bonian. A closely related version of the same composition is Lady in the Style of Tang Yin,, painted in 1933 for Weng Ping (1907-1998) (fig. 1). After his return from Dunhuang, however, Zhang’s style underwent a marked transformation. Moving beyond the delicate elegance of later Qing figure painting, he embraced a fuller and more monumental vision inspired by Tang art. While the composition remains closely related to the 1933 example, the present work displays stronger modelling, firmer linework, and a richer sense of volume and vitality.
The collector’s seal belongs to the renowned sculptor Liu Kaiqu (1904-1993). During the War of Resistance, Liu and Zhang were both active in southwest China and maintained professional contact. Liu greatly admired Zhang’s mastery of line drawing. In June 1983, the National Art Museum of China mounted the exhibition Paintings of Zhang Daqian, which included two works from Liu’s collection. One, listed as a 1944 painting of a lady, likely corresponds to the present work (fig. 2).